#Ile Sainte-Marie

[pedroam-bang]

Uncharted 4: A Thief’s End (2016)

[artthatgivesmefeelings]

Francesco Raibolini called il Francia (Italian, c.1450-1517) Madonna and Child with Saints Jerome and Francis, ca.1500 Norton Simon Museum

[saint-oleander]

Had a sudden revelation tonight at three am as I was shoveling water with a salad bowl out of my fucking house while outside it rained all the water the sky had but I have no idea what that revelation was. I just Understood.

What? Unclear.

[lolochaponnay]

Une femme rend visite à sa meilleure copine. Elle la trouve en pleurs : - Mais que t'arrive-t-il, ma chérie . - Mon mari est un monstre ! Hier soir, pour la Saint Valentin, il m'a emmenée au restaurant, et au retour  il m'a dit qu'il avait envie de moi. - ...Eh bien...de quoi de plains tu ? Tu devrais être heureuse, non ? - Non. Je lui ai dit que j'aimerais qu'on le fasse d'une façon romantique, alors il a allumé une bougie et il  me l'a plantée dans le cul !

[saint-oleander]

Ignore the baffled expression, I love tag games, but the one and only thing I've done today is working and it's yet to be over. Get me out! GET ME OUT!

Tagging (if you want) @fauna-a @erunerwynter @mallowfortheroad

tag game!!

Do this picrew of yourself, and tell me one thing you did today!

I got to say hi to all my friends and catch up on stuff after not having my phone for a week :]

@mintymooshroom @onyxofc @pandagobrr @amethysttable @theembergazer @silverdragon889 @sylki221b-of-the-shire @saltinegam @sleepywillowo0o

[mossmx]

got a book on Saints and there's multiple pages on just all the names of Mary, depending on country / historical event they associate her with / Bible stuff they associate her with and I am already like .......... this is so much more complicated than I tought XD

[fuzzysparrow]

Where in the world is the island of Île Sainte-Marie?

Île Sainte-Marie, also known as Nosy Boraha, is a small island located off the coast of Madagascar. The is renowned for its pirate cemetery, which is home to the grave of the infamous pirate Captain Kidd. The cemetery is a fascinating and eerie place, with ancient tombstones and a sense of history that is hard to ignore. The island was once a popular haunt for pirates and buccaneers, who used its secluded coves and bays as hiding places. Today, visitors can explore the ruins of old pirate forts and discover the island's fascinating past.

Another highlight of Île Sainte-Marie is the opportunity to go whale watching. The island is home to a variety of whale species, including humpback whales, which migrate to the area each year to breed.

Île Sainte-Marie is 60 kilometres (37 miles) long and less than 10 kilometres (6.2 miles) wide. It contains 17 villages, one town hall, one airport and two ports. It has an estimated population of 30,000.

[letallthetrashraindown]

Anne Carson, “Grief Lessons: Four Plays by Euripides” / George William Joy, “Sleeping Joan of Arc” / Andrei Tarkovsky / Anne Sexton / “Martyrdom of Saint Sebastian”, Il Sodoma / Caroline Walker Bynum, “The Holy Feast and the Holy Fast” / “St. Denis Picking up His Head”, 19th century Panthéon murals / Margaret Atwood, “Half Hanged Mary”

[miraculous-floconfettis]

Jane Avril et Toulouse-Lautrec

L'affiche que l'on aperçoit sur cette colonne Morris dans l'épisode Climatiqueen est une affiche du peintre français Toulouse-Lautrec représentant Jeanne Louise Beaudon, plus connue sous le pseudonyme de Jane Avril.

Jane Avril est née en 1868 à Paris et était l'une des danseuses du Moulin Rouge les plus célèbres de l'époque.

Maltraitée dans sa jeunesse par sa mère, elle sera internée à l'hôpital de la Salpêtrière en 1882 à l'âge de 14 ans et sera diagnostiquée d'une « chorée » : une maladie neurologique qui se manifeste par des mouvements convulsifs et incontrôlables, qu'elle-même appelle la « danse de Saint-Guy » (Au XIXe siècle, l'hôpital était alors l'hospice de la Salpêtrière, un asile pour femmes atteintes d’épilepsie, d’hystérie et de schizophrénie).

Au sein de cet hôpital, Jeanne découvre « le Bal des Folles » : chaque année, la bonne société parisienne s’encanaille le temps d’une soirée en compagnie des patientes internées qui étaient alors exhibées, et paradaient et dansaient en costumes de carnaval. C'est au cours de ce « bal » que Jeanne se découvrira un don et une passion pour la danse.

A cette époque, il en fallait peu pour être internée à la Salpêtrière : un mari qui cherche à se débarrasser de son épouse, une santé fragile ou bien un tempérament excentrique... Et sauf exception, on n'en sortait pas. Pour cela, il fallait être déclarée « guérie » par le docteur Jean-Martin Charcot, directeur du « service des hystériques » de l'hôpital et grand fondateur de la neurologie moderne (il a notamment donné son nom à la maladie de Charcot).

Jeanne fait partie des rares femmes à avoir pu quitter cet endroit. Mais elle retombe entre les griffes de sa mère abusive et elle décide de fuguer. Un soir alors qu'elle voulait se jeter dans la Seine pour s'ôter la vie, elle est recueillie in extremis par des prostituées qui la prennent sous leur aile et lui font découvrir le Paris nocturne.

Sous le pseudonyme de Jane Avril, elle commence à danser au Bal Bullier (situé à Paris à l'emplacement de l'actuel Centre sportif universitaire Jean-Sarrailh du CROUS de Paris) avec un style très particulier, entre danse et convulsions épileptiques. Très vite, l’étrange performeuse devient la star du Divan Japonais (l'actuel Divan du Monde), des Folies Bergère et du Moulin Rouge.

Elle fréquente alors les milieux intellectuels et artistiques et fera la connaissance de Henri de Toulouse-Lautrec, un habitué des cabarets où il croque avec talent ce monde nocturne.

Le peintre est séduit par Jane Avril qui deviendra une amie proche : il lui dédie la une du numéro 1 de la revue L’Estampe originale, et il l’illustrera sur de nombreuses affiches et toiles qui feront à la fois la notoriété du peintre et celle de son modèle.

Jane Avril dansera jusqu'à l'âge de 67 ans. Elle décèdera à 74 ans et est enterrée au cimetière du Père-Lachaise.

[anotherhumaninthisworld]

Collot d’Herbois timeline

A timeline over Collot d’Herbois whole theater career and early years in revolutionary politics, based primarily on the first two parts of the biography Collot d’Herbois — légendes noires et Révolution (1995) by Michel Biard andLa Société des Jacobins: recueil de documents pour l'histoire du club des Jacobins de Paris (volume 1-3) by Alphonse Aulard.

—

12 July 1746 — the marriage contract between Jacques-Gabriel Collot and Jeanne-Agnès Hannen is passed. Both husband and wife come from relatively well-to-do families, in the latter’s case they can even be called very well-to-do. Jacques Gabriel is a goldsmith companion who obtains his master’s degree a year after his marriage. The couple at first settles on Rue Saint-Denis in Paris, but in the 1750s they move from there to Rue Saint-Louis.

19 June 1749 — birth of Jean-Marie Collot, the couple’s first child (D’Herbois was a pseudonym, and the first recorded appearance of it is in a letter dated September 27 1770). They later have three more children — Elisabeth Charlotte (1750), Jeanne Louise (1751) and Jacques Louis (1754).

5 November 1757 — Collot’s parents get a divorce. It is unknown what happened to their children after this and what kind of education they got. Nothing is known about Jean-Marie’s life between this moment and 1767.

1767 — Collot becomes an actor, for the time a rather unpopular profession. For six months he’s part of a group that, under the leadership of one Bellements, sets up plays in Bretagne. He doesn’t particulary like his time there, five years later he writes to his friend Desroziers and tells him that ”had not these unfortunate times given me your friendship, I would have liked to forget them forever.” Collot keeps up correspondence with Desroziers during the rest of his acting career as well.

1768-1769 — Collot works as an actor in Avignon.

1769-1770 — Collot works as an actor in Toulouse.

1770-1771 — Collot works as an actor in Aquitaine. Around this time he gets his first meaningful role.

1772-1773 — Collot works as an actor in Bordeaux. People there appriciate him and consider him good at his job. It’s here that Collot starts getting lead roles and writes his very first play — Lucie, ou les Parents imprudents, which is played for the first time on 14 March 1772. The five act long play attacks societal norms, above all arranged marriages. It enjoys success and is soon being played on many provincial theaters and even abroad. The philosopher Élie Fréron praises the play the very same summer, though Collot doesn’t let himself become convinced by him. He tells Desroziers that he wants to go to Paris, but is forced to lower his ambitions.

1773-1774 — Collot works as an actor in Nantes. People there like him. In 1773 Collot writes a new play —Clémence et Monjair, a variation of Shakespeare’s The Merry Wives of Windsor. Neither the play nor reviews of it have been conserved. The same thing goes for Collot’s third play Rodrigue et Séraphine, a comedy in four acts.

1774-1776 — Collot works as an actor in Angers.

1776-1777 — Collot works as an actor in Nancy.

1777-1779 — Collot works as an actor in Avignon and/or Marseilles. On 25 November 1778 is printed a new play of his, Il y a bonne justice, ou le Paysan magistrat, drame en cinq actes et en prose, in its turnbased on the play The Mayor of Zalamea, Or, The Best Garrotting Ever Done by Spanish dramatist Pedro Calderón (1600-1681). In the play, Collot attacks the nobility and the army while portraying the king as a benevolent father figure watching over his subjects. No reviews from the time the play was first released have been conserved, but we do know it was appriciated when it was played in 1789 and 1790. In 1778 also appears L' Amant loup-garou ou M. Rodomont: pièce comique en quatre actes et en prose imitée de l'anglais, a comedy in four acts based on Shakespeare’s  The Merry Wives of Windsor. When the play is set up in Marseilles without mentioning who the author is, Collot sends the theater an angry letter.

November 4 1777 — Collot’s very first play Lucie, ou les Parents imprudents is set up in Montpellier, with Collot in the lead role. After the show is over, Collot gets into an argument with the Treasurer of France in the Generality of Montpellier and an advisor to the Court of Aid. One of them asks Collot why he seems to be staring at him to which Collot replies: ”the truth is that I find you very pleasant to look at.” The other man then intervenes and tells him: ”Monsieur, you are an author and actor, go back, Monsieur, to your estate,” to which Collot loudly replies: ”Yes I am an author and actor, I find glory in it, I honor these states and those who speak to me dishonor theirs.” For this, the two men have Collot sent before major commanding the place, and, after he refuses to back down before him as well, to the prison and court of the citadel. Now he is finally forced to puts his guns down, pledging to "be more circumspect and restrained in his words and writings in the future.”

1779-1780 — Collot works as an actor in Anvers.

1780-1781 — Collot works as an actor in Rouen. When the dauphin is born on 22 October 1781, he writes La Fête dauphine, ou le Monument français, praising the royal family. After this he puts down his pencraft, and doesn’t pick it up again until 1789. Collot also gets married to Anne Catherine Joséphine Catoir (born 23 December 1759) in either late 1780 or early 1781.

1782-1784 — Collot works as an actor in Lyon. The people of the city have only positive things to say about him.

1784-1787 — Collot becomes a director, perhaps inspired by his friend Desroziers already having walked the same road. On May 1 1784 he rents a house in Geneva where the lease covers two full years, suggesting he and his partner Desplace had been given authority of the theater of the town for at least two seasons. Collot personally travels to Paris to recruit actors for his troup, which makes its debut on May 9 1784, playing Voltaire’s L'Orphelin de la Chine. He uses his position as director to sometimes put up some of his own plays, such as L'Amant loup-garou and Le Paysan magistrat, and also sometimes works as an actor in the plays he sets up, often playing the lead role. Collot works together with famous people such as Francesco Righetti and, perhaps, Mademoiselle Saint-Val. Things do however start going badly for him in Geneva. Already at the troup’s debut they’re received badly by the local critic Ami Dunant who notes that the actors ”were dressed badly and played badly.” Two years later he still hasn’t changed his mind, calling Collot’s troup mediocre at best. The theater quickly loses its audience, already in the spring of 1785 it has lost two thirds of it, and Dunant describes theater nights with barely 100 people in a room with the maximal capacity of 1100. More trouble is caused by Geneva’s strict religious policy, which demands the theater dedicates a show to charity about every second month. In December 1784 Collot and Desplace decide to arrange four balls in the hopes of earning some extra money. The experiment is successful, but when they try it again the two following years the results are much more discouraging. In June 1784 an envoy charged with transporting belongings of three of Collot’s actresses accidentally dumps it all in Lake Geneva and the three actresses demand compensation from Collot, but a trial is needed to get him to pay the indemnity of 5000 livres. One of the actresses, Madame Duchateau, gets fired by Collot the following year after having asked for a huge raise, but as the theater starts losing its audience because of it he is forced to take her back a month later. Finally, when Collot one year after that is preparing to head to Paris to hire new actors, seals are placed on the prop storage of the theater, since he hasn’t payed the rent in time. Collot does however manage to scrape together enough money to pay what he owes.

1787-1789 — Collot works as a director in Lyon. The first play he contributes to is set up on April 16 1787, very shortly after he has left Geneva. The staff, with around 160 people, is about three times bigger here compared to the former town. Collot’s material situation is also much better, with a fixed salary of 6000 livres per year and a lodging at the theater itself. This time he does no acting, focusing solely on directing, nor does he choose to set up any of his own plays. The theater opens its doors almost every day, with 321 shows between April 16 1787 and March 15 1788. Most plays that are set up are comedies, with a love for Voltaire, while drama and tragedy are the least common. The biggest obstacle is the amount of actors who become unavailable due to health reasons, already in May 1787 Collot complains about having to spend much time visiting the sick and making sure they’re doing OK. In December the same year, when going to comfort an actress in her dressing room, Collot is literally tossed out of there, though afterwards he still asks that the actress not be punished for it. Collot still enjoys success in Lyon, and he gets the oppurtunity to expand the amount of seats in the theater and raise the prices. Witnesses also report full houses. His wallet is likely far from empty once his career in Lyon comes to an end somewhere in April 1789 (the myth that Collot went hard on Lyon in 1793 as vengeance for the citizens not having appriciated him during his theater career does in other words appear to be just that, a myth). 

2 October 1789 — first proof of Collot’s activities in Paris. We don’t know if he was there even earlier and present for the storming of the Bastille. In his defence from 1795, Collot claims he moved to the capital in order to ”live in solitude and philosophy,” with his wife after more than twenty years spent on the scene, in other words not to participate in the revolution or get inspiration for new plays. He settles in Chaillot.

17 November 1789 — the play L’Inconnu, ou le Préjugé à vaincre is set up at Théâtre du Palais-Royal, marking Collot’s comeback as playwright. The play is almost entirely based on Gotthold Ephraim Lessing’s The Jews from 1749, and preaches religious tolerance and open-mindedness. In particular, it condemns the costoms in which the family of a criminal becomes guilty by association. It also criticises the military and the royal court, but the king is once again spared and portrayed as a defender of liberty. It gets played at least fifteen times between November 1789 and August 1790, of which nine within the first two months. It also gets set up at several theaters outside of Paris, such as in Bordeaux, Rouen and Douai. Opinions on the play are divided, but the press overall shows itself sympathetic to it. The harchest criticism comes from the journal L'Année littéraire which writes that the play seems to both be ”wrong in substance and uninteresting in detail” but also ”riddled with bad jokes.” It does however also confess the successes of the play and admits it’s got a certain spirit.

7 December 1789 – premier for Collot’s old play Le Paysan magistrat at Théâtre du Palais-Royal, that is then played again on the 10th, 13th, 16th and 19th. It is on the suggestion of Comédie-Française that a hesitant Collot has agreed to set it up (the play largely revolves around a group of soldiers preparing to massacre a village, something which may not be very well received in a time where disorder within the country has created a split between the nation and a part of its army), along with other plays that before the revolution have been viewed as ”too dangerous” for the established order to be played in the capital. In a letter published in Chronique de Paris the same day as the premiere Collot nevertheless makes sure to underline that the play is based on the work of Caldéron and not current events. The play gets support from some papers and critique from other. It ends up being more or less a flop, something which Collot himself admits in a letter. 

14 January 1790 — Premiere for Collot’s new play La Journée de Louis XII, meant as an antipode of Joseph Chénier’s newly released Charles IX, ou, L’école des rois: tragédie. The play is a celebration of Louis XVI and ends with him being declared ”the father of the people.” In the first of the play’s three acts the king is surrounded by his family, showing his qualities as a father and husband. He gives his wife the advice ”to make herself more beloved by the French people than she’s been up until that point,” an obvious allusion to Marie-Antoinette. In the same act, a person preparing a feast for the king, transparently enough named La Fayette, is also praised. The play enjoys huge success — after its premiere on January 14 it gets played again the following day, during which the public openly demands it to be played at the 16th as well. In total, it is set up 21 times between January 14 and March 21 1790, 17 of which during the first two months. The papers write that the play draws enormous crowds, and even in March there are people complaining about not yet having found empty seats. Critics are also united in their praise of Collot’s work. The play itself was however never printed.

19 April 1790 — premiere for Adrienne, ou le Secret de famille, a rewrite of Collot’s old play Lucie, ou les Parents imprudent. The original five acts have been reduced to three, but aside from that the changes are minimum, with only a few here and there in connection to the upheavals that have taken place since the play eighteen years earlier was penned down. Phrases like ”the French people are brothers, long live God, the king is their father” are however left untouched. The play does however become somewhat of a failiure, and a few journals write about it with much negativity. It is only played eight times between April to August. The play is the last Collot sets up in colloboration with Théâtre du Palais-Royal.

16 July 1790 — premiere for Collot’s new play La Famille Patriote, two days after the feast of the federation. It is a celebration of the revolution, the king and the unified nation, and the only storm clouds it brings up is that there still exists misled Frenchmen who don’t yet follow the revolutionary path. The play is once again a success, and gets played twenty times in Paris and also set up in several other cities, including Bordeaux, Lyon, Rouen and Brest. All the reviews have only positive things to say. This marks the start of Collot’s colloboration with Théâtre de Monsieur, a theater which opened 1789 and declared itself symphathetic to the revolution right from the beginning.

November 1790 — premiere for Le Procès de Socrate, ou le Régime des vieilles temps, Collot’s fourth and last play of the year. It is more or less a copy of Voltaire’s play Socrates, and just like with Adrienne, ou le Secret de famille, the result is more or less a failure. It is played nine times in November, three or four in December, none in January and two in February. The play is controversial and gets met by both praise, reluctance and open hostility. According to Collot, this has more to do with the political opinions of the reviewers and not the quality of the play itself.

3 December 1790 — Collot’s first recorded speaking at the Jacobins. He is listed as secretary several times throughout March and April 1791.

February 1791 — premiere for Les porte-feuilles: comédie en deux actes et en prose, a new play of Collot’s where the political allusions are much weaker compared to previously. The play enjoys huge success — Théâtre de Monsieur sets it up at least 55 times between February 1791 to July 1792, almost three times more than it did La Journée de Louis XII. It gets played nine times in February, seven in March, and is after that set up three to five times per month for over a whole year, something that is actually quite rare for the time. Even papers who ordinarily are hostile towards Collot praise the play, listing its long length as the only minor flaw. The play is the only one of those Collot wrote during the revolutionary period to have given birth to several editions, and is undeniably Collot’s most successful projet from that era.

17 March 1791 — Collot signs a contract with Théâtre de Monsieur, which underlines several generous compensations for each show played. It will however be almost a year before the theater sets up a new play of Collot’s.

30 March 1791 — At the Jacobin Club, Collot gets scolded by Danton for having inserted praise of Bonnecarrère in one of the club’s minutes while serving as secretary. Bonnecarrère is a member of the jacobins who has just been elected minister in Liège. According to Danton, someone part of the executive power can no longer be a friend of liberty, and praising someone like that is therefore something only suitible for slaves. This is the second time Collot is recorded to have spoken at the club and the first of his recorded apperances outside of the theatrical realm that catches some attention, as several journals, including those of Brissot and Hébert, mention the fiery debate. The journal Sabbats jacobites even inserts a poem about it:

Air: Quel dèsespoir

Monsieur Danton Quittez enfin cet air farouche; Monsieur Danton On vous prendrait pour un démon;  Collot d'Herbois me touche,  Baissez un peu le ton;  Dans un cas bien plus touche  Il me donna raison.  Monsieur Danton,  Quittez un peu cet air farouche;  Ou tort ou non, . Collot d'Herbois aura raison. 

6 June 1791 — Collot reads his very first report at the Jacobin club. It regards the affair of six soldiers from Bourgogne who have been sentenced to death by a court martial. Collot strongly attacks both the officers and the Minister of War and demands that the convicts be released.

26 June 1791 — Collot reads a new report at the Jacobins, this time regarding the Nancy affair. Collot of course picks the side of the soldiers who took part in the mutiny and condemns the marquis François Claude de Bouillé who sent his troops to crush them (Bouillé interestingly enough fled France for his role in the the royal family’s recently failed escape attempt just a day before the report was presented at the club). The jacobins orders it to be printed and copies of it sent out to the clubs in the provinces.

6 July 1791 — Collot reads a follow-up report on the Nancy affair. This time it’s about thirty gunners who have also fallen victim to Bouillé. Collot strongly expresses support for giving the soldiers, who he argues have too often been exposed to the hate of their leaders, proof of their protection.

15 July 1791 — Collot’s play La Famille Patriote is set up once more in Paris in celebration of the anniversary of the feast of the federation.

20 September 1791 — Collot’s play Les Portefeuilles, along with two other plays, is played with free entrance to celebrate the Constitution. It’s once again a huge hit and the papers report how both seats and corridors get overcrowded.

23 October 1791 — At the Jacobins, the winner for a competition launched on September 20, with the goal of finding the work best suited to showcase the virtues of the new constitution, is announced. Out of the 42 entries that have been submitted, it is Collot’s Almanach du Père Gérard that ends up receiving the first prize. This work, which may or may not have been inspired by Benjamin Franklin’s Almanach du bonhomme Richard, is devided into twelve interviews, all between the title character Père Gérard, a Breton deputy in the constituent assembly, and peasants. Each interview is about a certain topic, and they all give Collot the opportunity to explain the foundations for the new regime while also critisizing some of its limits. While he’s still for a constitutional monarchy, he also speaks in favor of more radical elements — such as a rejection of the active/passive citizenship, the veto right, slavery and refractory priests. The almanach also contains two specific allusions to the current political climate — one that concerns refractory priests which Père Gérard declares must be avoided or even rejected for not having realized that ”the God of justice and goodness, who protects all people and loves and defends liberty, is ours,” while still urging reason rather than violence to get them or their side, and one that concerns the idea of using the army to defend and spread the revolutionary ideals abroad. Here Père Gérard responds that, although protecting liberty is highly commendable, ”warrior virtue isn’t everything, for then, the military spirit would become dangerous. There exists virtues where the exertion is more lenient but no less important for the happiness of life and the tranquility of the citizens.” When Collot is declared the winner at the Jacobins, he gets received by applauds and embraced by the president. After having read his work aloud, Collot announces that his intention is to give the prize money of 25 louis to the Swiss of Château-Vieux and a jacobin charitable fund. The almanach gets read aloud at the club the following day as well, during which it again often gets interrupted by applauds. It also enjoys publication success, being released in both Annonah, Auxerre, Lille, Carpentras, Reims, Nîmes, Rennes, Bourg-en-Bresse, Chalon-sur-Saône and Nancy, and translated into both Provencal, Dutch, English and German. Patriotic journals praise it, while it receives criticism only in certain counterrevolutionary circles. It also becomes the subject for several imitations with the goal to disprove it, such as Almanach de l'abbé Maury or Les Entretiens de la Mère Gérard.New editions of Almanach du Père Gérard were released during the 1870’s, 1889 and 1905, despite Collot’s by then infamous reputation.

31 October 1791 — At the Jacobins, Collot reports on the state of the Château Vieux soldiers.

1 November 1791 — At the Jacobins, Collot speaks about the Nancy affair, proposing that the Swiss nation should not be granted the right to judge offences concerning only France, and again asking for support of ”the poor soldiers of Château-Vieux.”

18 November 1791 — At the Jacobins, Collot speaks in favor of sending commissioners to Avignon to probe their minds on the political situation they’re currently in.

20 November 1791 — Collot acts as vice-president at the Jacobins, and, in the absence of the president Couthon, reads aloud a list of persons wishing to appear before the club.

27 November 1791 — at the Jacobins, Jean Dusaulx reveals that an artist is working on an edition of Père Gérard with engravings and asks the club to support it financially. Collot stands up to offer some reflections on the preferred cost, as well as to express his satisfaction over ”the eagerness with which this work is desired.”

28 November 1791 — When Robespierre enters the Jacobin club for the first time after a two month long absence from Paris, Collot, who is still occupying the role as vice-president, asks that ”this man, justly nicknamed the Incorruptible, presides over the Society,” a proposal which gets passed. Collot then engages Robespierre to step up into the president’s chair, which he does, expressing his gratitude to the society. This is the first recorded meeting between the two.

29 November 1791 — At the Jacobins, Collot speaks about what should be done about the émigrés, and shows himself sympathetic to the decree passed by the Legislative Assembly on October 31 1791 demanding all to return to France by the end of the year under threat of being declared tratitors. He says that these resolutions ”are those that the entire nation, if it could assemble, would have adopted.” The same session, Collot, alongside Pétion, Robespierre, Lanthenas, Rœderer and Bourdon, is chosen for ”the honorable function to instruct children and teach them the catechism of the constitution.”

6 December 1791 — At the Jacobins, Dufourny announces the results of the votes for procureur-syndic to the Commune, where Collot has stood for election. He does however end up in second place, losing hard against Danton who got 1162 votes. Collot himself got 654, Gérard de Buzy 399 and Hardy-Thouret 279.

8 December 1791 — At the Jacobins, Collot, who is currently acting as vice-president, says he’ll give up the chair for the session since it concerns not the jacobins but the public, who has come to give their judgement on the national education plan recently out forward by the Legislative Assembly. However, ”the general acclamation” assures him that no one is more worthy than him to occupy the chair and Collot therefore keeps it. Later during the session, he holds a speech praising the education plan.

9 December 1791 — at the Jacobins, Collot reads the two page long pamphlet Opinion de M. J. M. Collot d’Herbois sur notre situation actuelle, et sur la pétition présentée au roi par les membres du directoire du département de Paris. In it, he identifies both external enemies in the forms of the émigrés who have found protection abroad, and internal enemies, the most dangerous of which are refractory priests.

16 December 1791 — At the Jacobins,  Collot rises to speak in favor of several women who’ve come to listen but can’t find a seat in the gallery. He says they are ”mothers of families, worthy of Ancient Rome” and asks that they be granted two or three benches. This proposal is adopted unanimously.

23 December 1791 — At the Jacobins, Collot obtains the floor to speak about ”the affair regarding the unfortunate soldiers of Château-Vieux” which is on the order of the day the next day for the Legislative Assembly. The club orders the printing of his speech and for it to be distributed to members of the Assembly as they enter it the next morning.

25 December 1791 — At the Jacobins, Collot talks about ”the success of the affair regarding the unfortunate soldiers of Château-Vieux.”

1 January 1792 — At the Jacobins, Collot reports about the two decrees the Legislative Assembly has passed the same morning regarding the Château-vieux affair — one that states the 41 soldiers of shall immediately be put under amnesty, and the other being about the accusation against the princes. The whole club is rejoiced by the news, and Collot, ”the defender of the oppressed,” gets met by applauds. Later the same session, Collot reveals that he’s donated 1500 livres of the money he’s made from Almanach du Père Gérard to the soldiers of Château-Vieux, and another 1500 to the jacobin welfare fund.

January 6 1792 — At the Jacobins, a discussion arises regarding the question of what should be done with members who have gone over to the Feuillant club. Collot points out that many defectors repent and that they therefore shouldn’t delve too deeply into facts of this nature. This suggestion is however violently opposed by Robespierre, who states any member who presents himself at the Feuillant club can’t ever be allowed back at the jacobins again. He is applauded, and Collot instead suggests an amendment according to which the club’s presentation committee gets a fixed date up until which they can present defectors, after which they must stop stop. This idea is however once again opposed by Robespierre, who asks that they stick entirely to his proposal, and after a long discussion, it’s finally adopted.

15 January 1792 — At the Jacobins, Collot communicates a letter from the soldiers of Château-Vieux, written ”on the benches of the galleys.”

16 January 1792 — Collot tells the jacobins about the steps it had entrusted him with in order to bring mayor Pétion, who supposedly is ill, the assistance he needed. He explains he had great difficulty in getting Pétion to accept it but eventually succeded, and that the latter was in a much better state when he left compared to when he came.

17 January 1792 — premiere for Collot’s new play L’Ainé et le Cadet, that in total gets played five times more that month, alongside one time in February and one time in March. This play, which once again contains very few political allusions, is to be Collot’s last, after this he leaves the theater world and occupies himself entirely with politics.

[pedroam-bang]

Uncharted 4: A Thief’s End (2016)

[blanchefesse]

Vas spirituale, Vas honorabile, Vas insigne devotionis...

Ce triptyque sonne peut-être familièrement à vos oreilles. Peut-être avez-vous remarqué qu'à chaque fois qu'un personnage récite un texte latin dans Kaamelott (par exemple, Arthur dans Le chevalier mystère ou le Père Blaise dans Spangenhelm, mais aussi dans le court-métrage Dies Irae ou dans l'épisode pilote Les Funérailles d'Ulfin), ce sont toujours ces trois mêmes phrases qui reviennent.

Ou peut-être êtes-vous normaux et vous ne tendez pas l'oreille à chaque fois qu'il y a du latin pour essayer de deviner la référence cachée, ni n'avez regardé la série en boucle au point de connaître chaque réplique par cœur. Ne vous inquiétez pas, je suis là pour ça.

Vas spirituale, vas honorabile, vas insigne devotionis, disions-nous donc. La traduction en est assez littérale, on est sur du latin pour débutants, ce qui m'arrange bien vu mon propre niveau : "Vase spirituel, vase honorable, vase insigne de dévotion".

Alors. Comme ça, à première vue, je dirais que ça parle du Graal.

Comme je suis quand même un peu curieuse, j'ai cherché si ces formules précises apparaissaient dans un texte existant. Et bingo ! Alexandre Astier ne les a pas inventées spécialement pour Kaamelott, ces invocations appartiennent à une prière catholique.

Et non, ce n'est pas le Dies Irae. J'avoue en avoir été la première surprise.

Ces trois invocations font partie des titres et vertus attribués à la Sainte Vierge Marie dans les Litanies de Lorette (ou Litanies de la Sainte Vierge). [Pour les intéressés, je mettrai le lien vers le texte complet dans les reblogs]

D'ailleurs, dans le court-métrage précurseur de la série, Dies Irae, Arthur récite une version plus longue de ces litanies (avec une prononciation latine encore pire que la mienne) :

Vas spirituale, Vas honorabile, Vas insigne devotionis, Causa nostrae laetitia, Foederis arca, Turris Davidica, Turris eburnea, Domus aurea, Sedes sapientiae

Là encore, on est sur du latin pour les débutants, heureusement pour moi (oui, parce que pour analyser le Dies Irae, j'ai dû m'aider du Gaffiot en ligne, hein, allez pas croire que je suis bilingue) :

Vase spirituel, Vas honorable, Vase insigne de dévotion, Cause de notre joie, Arche d'alliance, Tour de David, Tour d'ivoire, Maison d'or, Siège de la sagesse

Tous ces titres figurent bien dans les litanies, mais Alexandre Astier, un peu taquin, les a mis dans un ordre complètement différent. J'imagine qu'il a voulu commencer par les formules sur le vase et qu'ensuite, il a fait sa petite tambouille personnelle pour brouiller les pistes.

Bien que ne se référant donc pas du tout au Graal, il est intéressant que ces vertus lui soient ici attribuées :

Cause de notre joie, à condition d'être trouvé, parce qu'en attendant...

Arche d'alliance, deux objets sacrés aussi mythiques l'un que l'autre (*insérer ici une blague sur Indiana Jones que je n'ai pas envie de faire*).

Tour de David, ça se complique un peu. Marie est appelée ainsi en référence au texte du Cantique des cantiques (4, 4) : "Ton cou : la tour de David, harmonieusement élevée ; mille boucliers sont suspendus, toutes les armes des braves". Bon. C'est une comparaison aussi bizarre pour parler d'une femme, que pour parler d'un vase. Au XIIIe siècle, Néophyte le Reclus (meilleur nom ever) utilise cette formulation : "Salut, tour puissante, toi qui maintiens indemne devant l'ennemi ceux qui se réfugient en toi". L'image de la Tour de David servirait donc à évoquer une protection face aux ennemis, ce qui peut s'appliquer au Graal. Certains chrétiens ont également voulu faire de la Tour de David le lieu du procès de Jésus avant sa mise à mort. Archéologiquement, on sait aujourd'hui que ce n'est pas le cas, mais ça me semblait quand même intéressant de le mentionner, par rapport au Graal.

Tour d'ivoire ; pas grand-chose à rajouter, à part que ça peut peut-être donner une indication sur le matériau du Graal ?

Maison d'or... euh... Alexandre Astier avait besoin de rallonger sa blague avec les mimiques de Lancelot ?

Siège de la sagesse : en fait, le Graal c'est une chaise. Je sais pas

Par ailleurs, si l'utilisation de ces litanies est complètement anachronique (leur forme finale n'a été fixée qu'au XVIe siècle et les premières compositions datent au mieux du XIIIe siècle, au retour des Croisades), la dévotion à la Vierge Marie était déjà répandue à cette époque. Ainsi, la plus ancienne trace écrite d'une prière à Marie (hors textes de la Bible type "Je vous salue Marie") date du IIIe siècle (pour les curieux, il s'agit du Suub tuum praesidium, sous ton voile de miséricorde). D'ailleurs, dans certains textes de la légende, le Roi Arthur combat avec une représentation de la Vierge Marie peinte sur son écu.

En revanche, je n'ai pas souvenir que Marie soit mentionnée dans Kaamelott, par l'un ou l'autre des personnages. Donc à mon avis, l'utilisation de ce texte, que ce soit lors de sessions lectures à la Table Ronde ou lors des prières, se réfère bien à 100% au Graal, ce qui est cohérent avec le rapport d'Arthur au christianisme dans la série. Il a concentré ses efforts sur la quête du Graal, et c'est déjà bien assez compliqué comme ça. Le reste du catéchisme viendra plus tard. (En même temps, le pauvre n'est pas aidé non plus.)

J'avoue ne pas avoir grand-chose de plus à dire dessus, j'ai surtout été amusée de découvrir cette source et je serais très curieuse de savoir comment Alexandre Astier est tombé dessus. Est-ce qu'il a cherché sur l'internet des années 2000 "texte latin vase" et il est tombé sur ça ? Est-ce qu'il connaissait ces litanies par ses études en musique ? (ça me paraît plus probable, même si la mention de vase n'apparaît ni dans la version de Palestrina, ni dans la version de Mozart)

Si l'on voulait s'amuser à chercher un sens plus profond, on pourrait peut-être en conclure que le Graal est une femme ? Une femme vierge ? Guenièvre ?

Pour conclure, les titres et vertus des litanies (hors "Mère de...", "Vierge" et "Reine de...") qu'Alexandre Astier n'a pas retenu pour désigner le Graal :

Miroir de justice, Rose mystique (bon ok, celui-là, ça serait un peu bizarre de l'avoir mis), Porte du ciel (celui-là par contre, 0 excuse), Étoile du matin, Santé des malades (là encore... on parle du Graal! Pourquoi ne pas avoir inclus celui-là, plutôt que "siège de la sagesse" ?), Refuge des pécheurs, Consolatrice des affligés, Secours des chrétiens

J'avoue que j'espère un petit peu voir Alexandre Astier réutiliser ce texte à l'occasion, pourquoi pas le mettre en musique dans une scène pour indiquer qu'un personnage (Perceval ?) est en présence du Graal sans le savoir ? (M. Astier je suis disponible pour discuter scénario quand vous voulez, j'habite près de chez vous)

[camisoledadparis]

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … January 20

c.275 AD. – St. Sebastian was born in the 3rd century AD. We know the date, but not the year. He is the patron saint of archers because he was bound to a stake and shot with arrows. He is also the patron saint of soldiers. As a beautiful young man he was the favorite of the emperor Diocletian who turned against him for embracing Christianity.

Some tales speculate that the Emperor Diocletian made romantic advances upon Sebastian and was enraged when Sebastian rejected him on Christian grounds. Other stories actually refer to Sebastian as the emperor's lover. Whether or not such accounts are legitimate, the image of St. Sebastian has been linked to homoeroticism.

According to the Church's official Acta Sanctorum, Sebastian, serving under the emperors Diocletian and Maximian, came to the rescue of Christian soldiers, Marcellinus and Mark, and thereby confessed his own Christianity. Diocletian insisted that Sebastian be shot to death by his fellow archers; these orders were followed, and Sebastian was left for dead.

These details—based on accounts written centuries after Sebastian's death and therefore largely apocryphal—may have helped form Sebastian's subsequent reputation as a homosexual martyr since his story constitutes a kind of "coming out" tale followed by his survival of an execution that may be read symbolically as a penetration.

In the Renaissance, Sebastian emerged as an extraordinarily popular subject for painters, perhaps rivaled only by Jesus and Mary; he was especially prized by artists who saw in the young saint a figure of Hellenic loveliness. Numerous painters—Tintoretto, Mantegna, Titian, Guido Reni, Giorgione, Perugino, Botticelli, Bazzi ("Il Sodoma")—recast Sebastian as a martyr beatifically receptive to his arrow-ridden fate.

It was primarily the Renaissance depiction of Sebastian that served a later, explicitly homosexual cult of St. Sebastian that took hold with remarkable force beginning in the nineteenth century, with Sebastian as an modern emblem of both a homoerotically charged object of desire and a source of solace for the rejected homosexual.

1900 – British actor Colin Clive (d.1937) is born in Saint-Malo, France to an English colonel, Colin Philip Greig, and his wife, Caroline Margaret Lugard Clive. He attended Stonyhurst College and subsequently Royal Military Academy Sandhurst, where an injured knee disqualified him from military service and contributed to his becoming a stage actor. Clive studied acting, and replaced Laurence Olivier in the stage play, Journey’s End, in 1927.

James Whale was the director of Journey's End. The two struck up an intimate relationship, and Clive played the lead in Journey’s End when it moved to the Savoy Theater in London in 1928. Clive was embraced by Whale’s theatrical friends including actress Elsa Lanchester. He followed Whale to New York City and Whale facilitated the casting of Clive in the movie version of the play.

Journey’s End was Clive’s first of 18 feature films. Clive appeared on Broadway in Overture. When the play closed, he went to London and starred with Elsa Lanchester in The Stronger Sex.

Clive is perhaps best known for playing the role of Dr. Henry Frankenstein in the James Whale-directed Frankenstein (1931) and in the Bride of Frankenstein (1935) with his friend Elsa Lanchester.

Though Clive was gay, he married actress Jeanne de Casalis in 1929, but the marriage was one of convenience, and they separated a short time later.

Clive was a member of the Brit ex-patriot actors in Hollywood including Lanchester, Karloff and Charles Laughton, and remained close with Whale.

The actor struggled with his sexual identity and suffered alcoholism and depression from an early age. His drinking became more and more problematic professionally. He often came to work drunk and passed out on the set. He was even fired from a starring role in a film when he suffered a breakdown.

Clive’s final film was in 1937, The Woman I Love. Colin Clive died on June 25, 1937, of tuberculosis complicated by chronic alcoholism. He was 37 years old. Actress Mae Clarke, one of his leading ladies, said, "Colin was the handsomest man I ever saw and also the saddest."

1945 – Gianni Amelio is an Italian film director.

Amelio was born in San Pietro di Magisano, province of Catanzaro, Calabria. His father moved to Argentina soon after his birth. He spent his youth and adolescence with his mother and his grandmother. The absence of a paternal figures will be a constant in Amelio's future works.

During his university studies of philosophy in Messina, Amelio got interested in cinema, writing as film critic for a local magazine. In 1965 he moved to Rome, where he worked as operator and assistant director for figures such as Liliana Cavani and Vittorio De Seta. He also worked for television, directing documentaries and advertisements.

Amelio's first important work is the TV film La città del sole, directed in 1973 for RAI TV and inspired to Tommaso Campanella's work. This was followed by Bertolucci secondo il cinema (1976) a documentary about shooting the movie 1900, and the thriller Effetti speciali. Two years later he directed the mystery La morte al lavoro, which won prizes at Locarno and Hyères festivals. The Little Archimedes (Il piccolo Archimede) of 1979 was also critically acclaimed.

In 1982 he debuted for cinema proper with Blow to the Heart (Colpire al cuore), about Italian terrorism, presented at the Venice Film Festival. In 1987 Amelio released I ragazzi di via Panisperna, about the lives of 1930 Italian physicists Enrico Fermi and Edoardo Amaldi, which won the award for best screenplay at the Bari Film Festival. 1989's Open Doors (Porte aperte), featuring Gian Maria Volonté, confirmed Amelio's status as one of Italy's best film directors and won a nomination as Best Foreign Film at 1991 Academy Awards. The film received also four Felix, two Silver Ribbon, four David di Donatello and three Golden Globes awards.

Also successful was The Stolen Children (Il ladro di bambini) in 1992, which won the Special Prize of Jury at the 1992 Cannes Film Festival plus two Silver Ribbon and 5 David di Donatello. In 1994 Lamerica, about Albanian immigration in Italy, repeated the fate and the success, with 2 Silver Ribbons and 3 Davids. Four years later, The Way We Laughed (Così ridevano) won the Golden Lion at the Venice Film Festival. Amelio gained another Silver Ribbon as best director for The Keys to the House (Le chiavi di casa), inspired to a novel by Giuseppe Pontiggia, of 2004.

Amelio was a member of jury at the Cannes Film Festival in 1995. In 2006 he released his eighth feature film, The Missing Star (La stella che non c'è), featuring Sergio Castellitto. From 2009 to 2012 he was director of Torino Film Festival, Turin.

Amelio came out as gay late in life, shortly before the release of his 2014 documentary Happy to be Different.

1974 – Michael Stabile is an American journalist and documentary filmmaker best known for his work in and about the pornography industry. His work has appeared in Playboy, The Daily Beast, Buzzfeed and Salon.com. In 2004, he and Jack Shamama co-created the gay pornographic soap opera Wet Palms for which they won a GayVN Award for Best Screenplay. He has also written several other GayVN-nominated movies including Spokes III, Cross Country, and Master of the House. Two of the films were included in "Top 10 Gay Porn Movies of the Decade" by Gawker Media's Fleshbot with credit given to the writing team of Stabile and Shamama.Since 2003, Stabile has edited Gay Porn Blog and in 2005 became producer of The Tim and Roma Show, a web-based talk show about the gay adult industry. In 2008, Stabile launched gay news site TheSword.com. He has been named "an arbiter of taste for gay porn" by the Village Voice.

Stabile has also been featured in the San Francisco Bay Guardian, the San Francisco Chronicle, Gay.com, Time Out, Cybersocket, and the Huffington Post.Stabile is working with Shamama and cinematographer Ben Leon on Seed Money, a documentary about Falcon Studios' founder and GLBT philanthropist Chuck Holmes, currently in production. Their documentary short, Smut Capital of America premiered at the 2011 Tribeca Film Festival on April 24, 2011. In late 2011, Stabile began working with Warhol Superstar Holly Woodlawn on a documentary about her life.

1976 – Mathieu Klein is a French politician serving as Mayor of Nancy since 2020. A member of the Socialist Party since 1992, he is also President of the Departmental Council of Meurthe-et-Moselle. After the 2020 French municipal elections, he became the first socialist Mayor of Nancy since the end of the second World War.

Mathieu Klein was born into a family of teachers in Phalsbourg, Moselle. Alongside his two brothers, he was brought up in Holving, before pursuing his secondary education at Sarreguemines. He moved to Nancy, France in 1993 to study history and sociology. He then continued his university studies in Paris.

Mathieu Klein has been a member of the Socialist Party since 1992 and his gave support in favour of a positive result in the French referendum on the Maastricht Treaty. He then became a student member of the National Union of Students of France in Nancy, then in Paris, becoming a member of its national bureau in charge of health matters.

In 1994 in Nancy he founded an LGBT association dedicated to the promotion of equality and fighting against homophobia.

In the 2020 French municipal elections in Nancy, Klein headed the Socialist Party, which took the first place in the first round on 15 March 2020, with 37.9% of the vote. Following this result, Klein merged with Europe Ecology – The Greens. In the second round, held on 28 June 2020, Klein prevailed with 54.5% of the vote. He was confirmed as Mayor on 15 July 2020 by 43 votes in the municipal council of Nancy, becoming the first left-wing person to exercise this mandate since the end of the second World War.

Mathieu Klein is homosexual and works in associations which are engaged in the fight against homophobia. He is married to a family doctor and the couple have three children.

1979 – Will Young is an English singer and actor. He catapulted to fame in 2002 after winning the inaugural UK Pop Idol contest. He has continued to work in music, and also as an actor.

Contrary to popular belief, Will did not come from behind to win the contest. After having beaten the widely-accepted frontrunner Gareth Gates in the final show, it emerged that he had in fact gained the most votes in six out of the nine weeks of the live show.

Young's first single was a double A-side featuring Evergreen and Anything Is Possible. In March 2002 this became the fastest-selling debut in UK chart history, selling 403,027 copies on its day of release (1,108,659 copies in its first week). It went on to sell over 1.7 million copies, and in the official list of the all-time best-selling singles in the UK issued later that year it was 11th. On 31 December 2009, Radio 1 confirmed that Anything Is Possible/Evergreen was the biggest selling single of the 2000s decade in the United Kingdom.

Young subsequently revealed that he was gay, in order to pre-empt a tabloid newspaper that was preparing to run a story 'outing' him. He also stated that he had never hidden, and was comfortable with, his sexuality.

Later in the year, Young met comedian David Walliams and the pair became good friends, with Young appearing at the Little Britain live stage show in Manchester, and later recording a podcast with Walliams, in which they chatted about various aspects of Young's career.

Will added acting to his repertoire when he accepted a role in the BBC film Mrs Henderson Presents, starring Judi Dench and Bob Hoskins. The film was released in the UK in November 2005 to excellent reviews — not least for Young's performance as both actor and singer in the film.

1980 – Yusaf Mack is an American professional boxer. He has held regional titles from the USBA (Now the IBF), NABA, UBA, and NABF. Mack has fought several former world champions, including Alejandro Berrio, Glen Johnson and Carl Froch.

Mack made his professional boxing debut at middleweight on November 17, 2000 in Biloxi, Mississippi. In his first 24 fights, Mack compiled a record of 22-0 with two draws. Throughout his early fights Mack moved between the middleweight, super middleweight, and light heavyweight divisions.

Mack is a father of ten children and was engaged to a woman. In 2015, he appeared in a Dawgpoundusa.com production titled Holiday Hump'n along with gay pornographic actors Bamm Bamm and Young Buck under the name Philly. He initially claimed he had been drugged by the film's producers and had no recollection of making the film, but later told WTXF-TV that he was gay and had lied to cover that up.

Yusaf later had a "coming out party" at Rage nightclub in Weho, a longtime landmark on the L.A. gay scene.

2012 – Three Muslim men from Derby, UK, were convicted of inciting hatred on the grounds of sexual orientation after they distributed leaflets calling for gay people to be killed.

In a landmark case, a jury at Derby Crown Court ruled the three had breached hate crime legislation by handing out the leaflets outside the Jama mosque, in Rosehill Street, Derby, in July 2010 in advance of a gay pride parade, as well as putting them through nearby letterboxes.One of the leaflets, entitled "The Death Penalty?," depicted a mannequin hanging by the neck from a noose. "The death sentence is the only way this immoral crime can be erased from corrupting society and act as a deterrent for any other ill person who is remotely inclined in this bent way," the leaflet read, as it discussed various methods of carrying out the death penalty for homosexuals.

Another depicted homosexuals burning in a lake in hell. A third showed the word gay laid out as an acronym to read "God Abhors You."

Today's Gay Wisdom

For The Straight Folks Who Don't Mind Gays But Wish They Weren't So BLATANT

by Pat Parker

You know, some people got a lot of nerve.Sometimes I don't believe the things I see and hear. Have you met the woman who's shocked by two women kissing and in the same breath, tells you she is pregnant? BUT gays, shouldn't be so blatant. Or this straight couple sits next to you in a movie and you can't hear the dialogue because of the sound effects. BUT gays shouldn't be so blatant. And the woman in your office spends an entire lunch hour talking about her new bikini drawers and how much her husband likes them. BUT gays shouldn't be so blatant. Or the "hip" chick in your class rattling like a mile a minute while you're trying to get stoned in the john, about the camping trip she took with her musician boyfriend. BUT gays shouldn't be so blatant. You go in a public bathroom and all over the walls there's John loves Mary, Janice digs Richard, Pepe loves Delores, etc., etc. BUT gays shouldn't be so blatant. Or your go to an amusement park and there's a tunnel of love and pictures of straights painted on the front and grinning couples are coming in and out. BUT gays shouldn't be so blatant. Fact is, blatant heterosexuals are all over the place. Supermarkets, movies, on your job, in church, in books, on television every day day and night, every place - even in gay bars and they want gay men and woman to go and hide in the closet. So to you straight folks I say, "Sure, I'll go if you go too" BUT I'm polite, so, after you.

[sciatu]

La festa di San Giuseppe in Sicilia

L’arrivo della festa di San Giuseppe era in passato un evento molto importante per tutti i paesi siciliani. Il motivo era nella protezione che il vecchio sposo di Maria dava in particolare agli orfani e alle ragazze in cerca di marito e in generale a tutti i poveri. Per questo motivo la tradizione prevedeva che con l’arrivo della festa vi fossero non solo processioni di ragazze e ragazzi ma che si preparassero anche abbondanti banchetti per i più poveri. Infatti oltre ai classici dolci che accompagnano ogni festa siciliana come le rispeddi o le zeppole o le sfinci di San Giuseppe, in occasione della festa sono offerte anche lunghe tavolate apparecchiate con ogni ben di Dio. Il cibo delle tavolate veniva offerto dalle famiglie del paese ed erano destinati a tutti i poveri che li chiedevano. Per lo stesso motivo venivano preparati i Pani di San Giuseppe, delle pagnotte decorate artisticamente destinate sempre ai più poveri. La festa quindi era molto sentita soprattutto nelle aree dei grandi latifondi dove i poveri abbondavano e coinvolgeva tra processione e preparazione delle tavolate tutti i paesi, ed in onore del Santo non vi era paese senza una chiesa o un altare a lui dedicati. In particolare la chiesa di San Giuseppe dei Teatini è tra le tante a lui dedicata la più elegante e famosa. L’altra categoria che si affidava a San Giuseppe erano le ragazze in cerca di marito. Le novene e le storie sulla benevolenza del santo, vedono coinvolte ragazze in cerca di marito senza dote e divenute anzitempo orfane a cui il Santo fa sposare principi e re.

The arrival of the feast of San Giuseppe was in the past a very important event for all Sicilian towns. The reason was in the protection that the old husband of Mary gave in particular to orphans and girls looking for a husband and in general to all the poor. For this reason, tradition required that with the arrival of the feast there were not only processions of girls and boys but also that abundant banquets were prepared for the poorest. In fact, in addition to the classic sweets that accompany every Sicilian feast such as rispeddi or zeppole or sfinci di San Giuseppe, on the occasion of the feast long tables were also offered, set with every good thing. The food at the tables was offered by the families of the town and was intended for all the poor who asked for it. For the same reason, the San Joseph's Bread were prepared, artistically decorated loaves always intended for the poorest. The celebration was therefore deeply felt especially in the areas of the large estates where the poor were abundant and involved all the villages between the procession and the preparation of the tables, and in honor of the Saint there was no village without a church or an altar dedicated to him. In particular, the church of San Giuseppe dei Teatini is among the many dedicated to him the most elegant and famous. The other category that entrusted themselves to San Giuseppe were the girls looking for a husband. The novenas and stories about the benevolence of the saint involve girls looking for a husband without a dowry and who became orphans prematurely and to whom the Saint makes princes and kings marry.

[gensdezabulon]

Le Christ est parmi vous

À propos des textes du jour (Gn 18,1-10 ; Col 1, 24-28 ; Lc 10, 38-42)…

Ce mystère enfin connu, caché jusqu’ici aux générations précédentes (c’est saint Paul qui le dit) : "Christ est parmi vous".

Rien que ça. Christ est parmi vous !

Après 2000 ans de christianisme, ça paraît banal de dire ça. Ben oui, on le sait, réveille-toi : ça fait 2000 ans qu’on nous le dit !

Justement : ça fait 2000 ans et l’humanité n’a toujours pas encore pris la mesure de cette nouvelle : Christ est parmi nous.

Dans le récit des évangiles, Marie (de Béthanie) l’a pressenti au point d’arrêter toute activité pour profiter de cette présence - qui sera réalité qui dure - là où Marthe s’affaire encore dans un objectif généreux de bien faire, d’être une femme impeccable, serviable et hospitalière.

Manquerait plus qu’on dise qu’elle a mal reçu le Seigneur ! - ꟷ Mais bouge-toi donc, Marie! Pourquoi tu me laisses seule au service alors qu’il y a tant à faire !

Rien. Il n’y a rien à faire pour recevoir ce don gratuit que le Christ est parmi nous. Pas seulement la réalité tangible d’un homme qu’on reçoit, fût-ce Jésus. Mais la réalité que la Vie-même, l’origine de tout élan vital dans l’univers se manifeste dans cette humanité-là, celle de Jésus. Et le don, le voici : si cela est vrai pour l’homme Jésus, c’est vrai pour toute humanité, homme et femme, qui veut bien s’y rendre disponible, l’accueillir enfin y croire.

Car Dieu a toujours été là, ce sont nos yeux, nos cœurs, mal décillés qui sans cesse cherchent à l’extérieur une vérité profonde qui est déjà là, disponible en chacun.

C’était déjà l’intuition d’Abraham qui perçoit recevoir le Seigneur en ces trois étrangers qui apparaissent à lui au chêne de Mambré. Innocence et confiance incarnées, il n’est qu’accueil et hospitalité au mystère de Celui qui vient, qui est.

L’étranger, cet autre, est son Seigneur. En lui, il reconnaît la visitation, la communication qui lui est faite qu’il est digne d’intérêt pour le Tout Autre. Il n’a pas encore compris, peut-être, que ce tout Autre est aussi en lui, alors même pourtant qu’il va donner la vie, créer une formidable descendance. Il faudra que son hôte, cet étranger, revienne à la naissance de son enfant pour le lui confirmer. Ce tout autre qu’il appelle Le Seigneur et qui pourtant sont trois.

Texte tellement étrange qu’il semble y avoir un élément de compréhension qui nous échappe, un décodeur, quelque chose qui ferait que le sens est évident. La tradition chrétienne, magnifiée par l’œuvre de Roublev, y relit la présence du Dieu trinitaire, complètement un, complètement trois, ce qui, bien sûr est une relecture théologique tardive, a posteriori. Tant mieux si elle aide à comprendre que Dieu est amour quoi qu’il en soit de la manière dont on le regarde, et jamais peur, guerre et méchanceté !

Abraham voit trois hommes, ils sont l’Etranger par excellence, quoiqu’il en soit de leurs spécificités personnelles. Ils sont le Tout Autre, ils sont le Seigneur. Ils le sont et lui ne sait pas encore que, dans cette logique il est lui aussi le Seigneur. Le Seigneur qui se reçoit lui-même. « Le seigneur dit à mon Seigneur : siège à ma droite » dit un des psaumes.

Revenons à saint Paul. Son cri du cœur est : le mystère qui était caché depuis des générations est enfin révélé, Christ est parmi vous !

Christ est parmi nous. Christ est parmi moi.

Certains dira-t-il ailleurs ont reçu des anges sans le savoir. Les anges, ces messagers de Dieu. Autre interprétation projetée parfois sur les trois hommes qu’Abraham reçoit à Mambré.

Des anges reçus sans le savoir.

Combien en ai-je reçu dans ma vie sans le savoir ? Tiens, et là, aujourd’hui, toi qui croises ma vie, es-tu un ange pour moi, un messager du ciel, un ange que je n’aurais pas encore reconnu ?

Allons plus loin, toi que je croise aujourd’hui, en quoi es-tu ange qui me parle de mon Seigneur, qui me renvoie à ma propre humanité, à la tienne, et réalise en nous ce doux mystère que Christ est parmi nous ?

Bien sûr que moi aussi je suis un ange, ou que je devrais être un ange pour toi, et que de me rencontrer t’aide à réaliser que le Seigneur est avec toi.

Mais chhhhut ! Mets une garde à ta bouche, ne t’occupe pas de ça pour ne pas tomber dans l’orgueil et te couper de Celui qui te donne tout et dont tu ne peux que te recevoir.

Il suffit bien que tu réalises qu’en chaque rencontre, aussi dure, aussi compliquée, aussi perturbante soit-elle, c’est le Seigneur, en cet homme-là, en cette femme-là, qui te rejoint. Le seigneur invite le Seigneur à l’accueillir.

Au-delà des formes, au-delà des apparences, savoir comme Abraham reconnaître la bonne nouvelle qui se manifeste par la rencontre de l’autre, l’insigne honneur qu’il me fait d’être entré dans ma vie.

Voilà donc Jésus qui entre dans ma maison. Immédiatement, viennent s’animer en moi ces deux forces qui semblent s’opposer : vite s’affairer, faire quelque chose pour être à la hauteur de la venue de celui que j’aime et que surtout il ne lui vienne pas à l’idée de me quitter ou de m’abandonner; suspendre toute activité pour gouter la Présence de celui qui me révèle à moi-même, là, maintenant et toujours.

Viens, Seigneur, visite-moi encore et encore jusqu’à temps que j’arrête de courir pour enfin te recevoir.

Z - 20 juillet 2025

Photo : Une photographie de Thomas Synnamon

[lisaalmeida]

Belle Lettre d'amour... à lire......

Lettre de Consuelo de Saint-Exupéry à son mari Antoine St Exupery

Fin décembre 1944

Que j’aille très loin, en train, en avion, sous la mer, par la terre, j’ai l’impression que jamais je ne pourrai arriver jusqu’à toi.

Tonio, Tonito, mon homme, mon fils, mon clocher, fais sonner les grandes cloches parce que je ne peux pas respirer. J’ai grossi en attendant la houle qui va te ramener.

Je tombe avec les feuilles, avec la pluie, avec ma jupe de fête.

Je ne peux pas marcher à force d’attendre le moment où

je reverrai tes yeux, ronds comme des fleurs.

Tu ne vois pas que je ne peux pas arroser l’arbre de Noël pour le faire grandir. Mon mari des étoiles, j’ai de tout petits pieds et de toutes petites mains, il faut que tu reviennes m’aider.

Je ne sais pas comment j’ai marché depuis mon enfance jusqu’à aujourd’hui. Ma vie fut un immense vertige.

A présent, j’ai des cheveux gris, j’ai tellement de larmes dans ma bouche que cela me suffirait pour boire toute ma vie.

Pourquoi Tonio, mon Tonio, mon mari,

mon mal et mon bien, mon ciel et mon enfer,

es-tu parti pour ne jamais revenir ?

Je ne peux pas le croire, je ne veux pas le savoir, tu es parti dans ton avion, le 31 juillet, en mission de guerre et tu n’es pas revenu. Pas de nouvelles de toi et l’année va finir. Il faut que je l’accepte, et si je l’accepte, c’est pour t’aimer davantage.

Comme je t’aurais aimé si tu étais revenu ! Comme toi aussi tu aurais fait la même chose pour moi !

Seigneur à la couronne d’épines, arrache-moi le cœur pour qu’il ne me fasse plus mal.

Tu sais, toi, que Tonio est tout pour moi. Sans lui, je ne suis rien. Sur la table de ma chambre d’hôtel, j’ai un livre de lui, son portrait avec son manteau de soldat en cuir et ses fines mains d’homme comme des ailes et sa barbe pousse avec mes larmes.

Seigneur grand et miséricordieux, je te donne ma peine et ma douleur.

Mon Père, aide-moi. Je n’ai personne pour aimer, pour attendre, pour embrasser.

Ma maison est devenue petite, seule ma fenêtre reste ouverte pour faire entrer le ciel où il est parti en s’envolant pour ne pas revenir.

Rendez-le-moi mon Père, je vous en prie, faites un miracle.

Si vous me le rendez dans sa tendresse, je le coifferai, je le laverai, je l’embrasserai et ensemble nous irons jusqu’à vous